“It’s the editor who orchestrates the rhythm of the images, and that is the rhythm of the dialogue, and of course the rhythm of the music. For me, the editor is like a musician, and often a composer.” – Martin Scorcese

In the video industry, everyone knows the edit can make or break a project. You can hire the best production team in the world, but if your editor doesn’t understand both the technology and the art of editing, you’re out of luck. A bad edit can leave a viewer cringing and can cost more in re-edits than it’s worth.

So, what can you do to make sure you’ve hired the best of the best to edit your latest piece? I chatted with professional freelance editor and longtime Crew Connection Crew, Jeff Drake, about his vast career and what he believes makes an excellent editor.

The Vision

“When I first saw Avid Media Composer, I knew non-linear editing was what I wanted to be doing.” Drake’s editing journey began when post-production meant using tape machines and a switcher. The introduction to editing software was a complete game-changer for his career. “It allowed me to be faster and more creative and inspired me to constantly learn new technology in order to elevate the level of my work.”

That level of elevated work has allowed Drake to be fortunate enough to edit for major companies like ESPN, Wells Fargo, Toyota and Victoria’s Secret, to name just a few. His experience, accompanied by his humble and professional approach, is what sets him apart from amateur editors who may understand the technology, but not the business of editing. “Most directors and producers have a vision and it’s my job to fulfill that vision first. I always aim to bring something to the table and make the final project better than the client anticipated.”

The Business

Putting one’s artistic ego aside and focusing on delivering the client’s vision isn’t always easy, but it is a paramount trait in a sought-after editor. Creative personalities can often clash, but Drake believes forcing his perspective on a client is the opposite of what he’s been hired to do. “I will defend my creative decisions, but only once because I want the person paying the bill to be really happy with how the project turns out.” In the end, he’s been hired to make the post-production process easier for the client. It isn’t personal.

Another way he manages to keep such a professional rapport with his clients is by working as a contractor, instead of an in-house editor. Drake reveals that working with various clients away from the office is one of the biggest benefits to his work. By staying out of office politics and avoiding distractions Drake says he can focus all his energy on delivering an excellent product. As a contractor, he can also bring a fresh perspective that sometimes in-house editors can’t provide.

The Final Product

Working behind the scenes can make it difficult for people to understand the artistry that goes into editing a project. “Editing is creative control of the structure, pacing, and tone of any piece, no matter how complicated or simple.” Additionally, a solid editor can work with powerful tools to manipulate mediocre images, improve audio or design motion graphics from a simple idea.

“I think editing is the single most important contribution to the overall feel and success of a project but, of course, I’m biased.” Drake may be joking, but this is the level of commitment and skill you want your editor to have. You want to trust your editor is giving 100% percent to seeing your vision succeed. That’s what separates an excellent editor from the rest.

Hand over that lovely green tax visor and take a spring break instead. Here’s how:

PayReel was started when Crew Connection’s founder saw a need in the media industry for simplifying freelancer management. The PayReel team and its custom software instantly replace the paperwork involved with onboarding and paying freelancers while also keeping businesses compliant with federal, state, and local regulations such as paid sick leave and insurance. Chat with a real, live person when you contact PayReel at 303-526-4900 or by emailing us here.

Leave your payroll services and details up to PayReel so you can focus on pulling off a flawless production.

2. Hand over the paperwork and the risk.

A lot of productions often means a lot of temporary workers. And all those workers make for a not-so-magical mountain of paperwork. PayReel takes the burden out of onboarding as well as tracking and sending 1099s.

Speaking of those temporary workers, are you sure you’re the right person to classify all of them? It’s only your job and possibly your freedom on the line.

At PayReel, they talk about worker classification a lot. They even created a whole series on the subject. They take it seriously because the government does, too. Meaning they’re more than ready to fine companies that get it wrong. But don’t worry, when you work with PayReel, their staff help you decide if the seven dwarves are eligible for full benefits and take the punishment if they’re ever wrong.

3. Get back to work.

With PayReel handling your freelancer management, you can get back to your production, or your Netflix binge, or even your spring break. Whatever you do, just don’t get back to worrying about tax management: PayReel makes tax season vacation season.

One more thing: There are certain career paths (like tax lawyering) that really require a special type of person. Unless you’re one of those, (which we’re not) you’re not legally allowed to give your employees tax advice. Send them to the IRS.

About PayReel

Juggling content production and freelancer management can get messy. PayReel makes sure their clients are able to hire who they want, when they want and that everyone is paid properly. Leave all payroll services and freelancer management (even taxes) up to the PayReel team so you can focus on pulling off a flawless production. Contact PayReel anytime at 303-526-4900 or by emailing us here.

Graham Nolte, one of Crew Connection’s best DPs—and so much more—shares tips and advice for production crews on everything he’s learned from freelancing.

Crew Connection: What is the most challenging aspect of being a freelancer?

Nolte: Managing your finances. If you make great work, people will find you. But if you can’t organize your own capital, you’ll never reach your full potential. I see a lot of freelancers living outside their means. If you are going to seriously attempt to pursue a life of freelancing, then you need to start with your financial management habits. Freelancing has great uncertainty, and great rewards. You have to understand how to wield that power, and some basic accounting skills are a must.

CC: How do you manage your time?

N: Essentially, you’re managing unpredictability. Even if other people think you’re unemployed for a week, understand that you’re on call for bigger opportunities, while doing the back office work of running a company.

Even if you feel you “have more time” being a freelancer, you’ll have to manage that time with your personal life so you can take work at the drop of the hat. If you turn down enough gigs because of other engagements, eventually those calls will stop. It’s not personal, you’re just a less ideal candidate than someone who can manage their schedule to fit the needs of their clients.

One time, while I was in Boston shooting a concert, I got a call to cover the Baltimore riots. They needed me there at 7 a.m. the next day, except that I had to pick up the equipment in Philly. I thought about it for all of two seconds then said, “Yeah, I can do that.” Because that’s what it takes.

CC: What is the main benefit of freelancing over working for a corporation or production house?

N: I think the corporate world is a lot like joining the army, whereas the freelance arena is like being your own mercenary. As a mercenary, you can always contract out with the government, as per your specific interests, but you don’t have to join the recruits at 5 a.m. to raise the flag.

Some people like being part of something big. Others like creating those bigger things while steering the helm themselves. That’s not to say you can’t do so in the nine-to-five scenario, but you certainly don’t start off with 100 percent control of the ship from the very first day.

CC: What advice would you give someone just starting out?

N: Talent, hard work, and a positive attitude are mandatory, so don’t think you’re doing anyone a favor by offering them. The rest is up to you, and you’d better believe it’s going to be difficult. But remember, the payoff is huge. I’ve made in a day what I’ve made in a month working hourly wages.

Find what you like to do and follow it. If you’re not enjoying what you’re doing in life, then get off the train. You’re in the driver’s seat. Don’t worry about anything else, because the money will follow.

CC: What are your top three tips for production crews?

N: Be on time. Talk less. Do great work.

Graham Nolte runs his own production company, creates virtual tours for Google, and is a DP/camera operator on commercial content for clients such as Yahoo, ESPN3, and Dell. He has directed 2 feature length films and 25 shorts. His movies have played in theaters and festivals in San Diego, Toronto, Anchorage, New York, San Francisco, Philadelphia, Las Vegas, Baltimore, Washington, Vancouver, and Nice, France.

About Crew Connection

Crew Connection puts a suite of marketing tools at your fingertips. Get your demo reels, stills, gear, awards, and more in front of the biggest clients all over the world—for free. At Crew Connection we pay video and post production providers within 30 days of receiving your invoice so your work and your life are never interrupted. Need live assistance or want to add quality jobs to your pipeline? Our crew coordinators are on call around the clock. Sign Up on Crew Connection, call 303-526-4900, or email info@crewconnection.com.

One of the best-known perks of freelancing is the flexibility. But for a freelance camera crew member, all that freedom comes at a cost. Sourcing new clients, managing a hectic schedule, and staying up to date on your insurance requires discipline. Whether you’re a beginning freelance camera crew or part of the old guard, everyone can use a little help. That’s why we reached out to one of our favorite freelance camera operators Rodney Lane Butler to pass on some of his hard-earned advice.

Rodney’s Tips for A Freelance Camera Crew Member

1)Be early.

Though no one notices when you’re on time, everyone knows when you’re late. So always be early. That is, if you want to keep working. Bonus tip: Apply this advice to every part of your life—not just call time.

2) To get on a crewer’s preferred list, do good work.

Edible Arrangements and a round of drinks alone won’t get a freelance camera crew more work. Great work gets you more work. Let your product speak for itself. When it does; crewers, directors, and producers will talk, too.

You’re only as good as your last job. Live sports and concerts are fun to shoot, but they’re unpredictable. You have to be on your toes 100 percent of the time. If you miss a moment, it’s gone. As Rodney says, “If you screw up three events in a row, they’re not booking you again.”

Reap the rewards while clients pay for expenses. Points and miles do accumulate! After 20 years in freelance media, Rodney rarely pays for personal flights, hotels, or car rentals.

4) Don’t pigeonhole yourself.

We’ve probably all heard that complacency is the enemy of excellence. Don’t take the same gigs year in and year out because they’re easy and you don’t have to learn anything new. Make yourself available for new opportunities. If a last-minute shoot comes up—take it! You never know where it might lead.

For example, say your 10-year stint with NASCAR comes to an end when they move to another network and you don’t. Such a change can leave you high and dry if you haven’t kept your options open and your skills sharp.

5) Learn to say “No.”

For Rodney, the flexibility of freelance media was the initial draw because it paid great and allowed him to spend time with his mom, who was fighting leukemia. He’s grateful for the time it provided with her before she passed away. However, the flexibility can also pose a challenge. Rodney’s says the hardest part of his job is “knowing when to say no to jobs so you can create time for your family.”

Once you commit to a freelance job, you’re going to have a hard time replacing yourself on set—even if it means missing an important birthday or family vacation. Rodney’s advice? “Just don’t take it if you are iffy.”

Rodney Lane Butler has been a freelance cameraman in sports television production for nearly 20 years. Rodney has filmed live concerts—his favorite!—with bands like KISS and Aerosmith and sporting events including NASCAR, NHRA drag races, the NBA finals, the Stanley Cup finals, and a Super Bowl. He’s even filmed shows with cameos from Presidents George Bush and Barack Obama. He specializes in robotics, RF cameras, handhelds, and remote sports camera operations. Book Rodney at 704-724-6287 or butlerr@bellsouth.net.

About Crew Connection:

Crew Connection connects you with media professionals—including the best freelance camera crew for your project— across the country and around the globe. With more than 25 years of experience and thousands of shoots with film crew pros to our credit, you can trust our expert coordinators to match you with the right freelance camera crew and equipment—every time.

We vet every camera crew we work with to make sure our clients get the best. One of those is Crew West, which treats both large and small projects with the same level of service and detail. Plus, they have one of the best time-lapse guys in the business.

We chatted with Michael Barcless, a managing assignment editor for Crew West/Sat. West. Barcless is a producer by trade who staffs shoots, provides cameras and formats, and covers MLB and the NFL.

Crew Connection: Tell us about Crew West and what sets your camera crew apart.

Michael Barcless: Jim Farrell was a news cameraman before starting the business in 1994. With about a dozen full-time staffers and a network of the best freelancers, we like to say we’re small but mighty.

One thing that sets us apart is our focus on great lighting. Lighting for shoots is like spicing for meals. It can take an average shoot to extraordinary and it requires a lot of practice to perfect the skill and the art.

We are known for our network-level HD. We also have satellite trucks for game backhauls and corporate clients who want to do video uplinks.

CC: We hear you have a great time-lapse guy on your camera crew. What can you tell us about him?

MB: His name is Dustin Farrell and his stunning videos have racked up millions of views. Some people think it’s just pointing a camera in the right direction, pressing a button, and taking a nap while the magic happens. But good time-lapse photography is truly an art. Dustin has perfected the technique. You can see his growth from the first volume to the latest. Samsung even took notice and put his videos up in their stores.

He’s known for his time-lapse skills, but he’s also adept with quad copters for those sweeping overhead shots. It seems like everything Dustin does is epic.

CC: Give us an example of how you go above and beyond for your clients.

MB: After doing a shoot for a corporate client (Phoenix Children’s Hospital) where we installed lights, they wanted to take us on the road. Their next shoot was in LA, but the client was so impressed that she wanted to take our guys. LA! She said we do better work in Phoenix than she finds there.

Michael Barcless (left) and Kurt Warner at Super Bowl Media Day.

About Crew Connection

Crew Connection connects you with video production crews across the country and around the globe. With nearly three decades of experience and thousands of shoots with film crew pros to our credit, you can trust our expert coordinators to match you with the right freelance video crew and equipment—every time.

A prospect you’ve been trying to reach for weeks ends up in line ahead of you at the coffee shop. When you introduce yourself, your handshake better be firm, not clammy; your delivery better be natural, not desperate; and your pitch better compel them to ask for more information. Whatever solution you offer, you’re more likely to end up selling its value on the fly than in a conference room full of decision makers. Gain clients with your production crew’s 30-second pitch.

With your production crew’s talent and experience, you already know you offer a great experience and a dynamic final product from broadcast to reality TV and corporate interviews to marketing drone shots. The 30-second sale gives you a chance to make sure your prospects know. The market is crowded and despite topnotch talent, you may struggle to get a seat at the table.

Keep your production crew’s services in demand and your phone ringing with these three steps:

Communicate your value at every opportunity.
To become the talent of choice, you must be ready to communicate your value—anywhere, anytime. Have your value proposition memorized so that you can recite it at a moment’s notice. Treat your prospects like the big agencies do. They come to each interaction equipped to sell—knowing they must earn confidence to earn business.

Consider your services, strengths, and technology assets from your potential client’s perspective.
This allows you to communicate in a way that resonates with your potential client. They must walk away understanding how working with you benefits them.

Create opportunities to play with all those cards in your deck.
Effective and consistent industry networking is the foundation for your growth. Identify key stakeholders within your network and pursue departments and businesses you know are an obvious or immediate fit. Spend time in the right places so you can put yourself on the other side of the table. Show up where potential clients hang out. Drink lots of coffee. Eat two lunches a day if it gives you an opportunity to share your value. Create your seat at the table—whether you were invited or not.

Sound designer Ed Kaufman of Coupe Studios provides post production insight for any video production crew wanting to understand more about how to best make dialogue, music, and audio pieces all fit together!

Q: How did you get your start in the industry?

A: As a young musician, I took an interest in recording and album production. After playing professionally with rock bands and burning out on life on the road, I worked in music stores learning about the gear. In the mid 80’s, I sold a piece of recording gear to my future partner—Scott Roche of Coupe Studios. He asked me to work with him at his fledgling 16-track studio. We’re still working together!

Q: What is one piece of advice you always follow?

A: Philosophically, just follow your passion. My dad told me that one. On the practical side, I tell to all young engineers to double check their work before they send it. It saves a lot of grief.

Q: What does a video production crew need to know about how the dialogue, music, and audio pieces all fit together?

A: I first learned to mix by doing music projects. I like to approach all mixing from that background. In a rock song, you build the energy first by creating a cohesive and punchy foundation from the rhythm section. The rest of the layers—the melody, both vocal and instrumental—are added to that core.

In commercials, documentaries, and other pieces with visual elements, the dialogue and narration are usually the core of the soundtrack. You build from there. So it works for me to mix from the top down with music, effects and production sound—all used to support and drive the emotion and credibility of the spoken word. When a scene is more visual and less spoken, the music track builds the intensity and the mood, giving opportunity for good sound design. Whatever the audio component available, the goal is to enhance the storytelling and its emotional impact on the audience.

Q: How does sound design contribute to communicating the message/story of the piece?

A: In live action, literal (real) sound effects bring viewers into the scene while non-literal (cartoon, for example) sound effects create the feeling of viewing from a distance. In animated pieces, the literal sounds versus non-literal effects greatly change the mood and message. In addition, adding reverb or delay can put words or sounds into thoughts or a dream.

Q: What makes a well-designed finished product?

A: A good audio mix becomes one with the visual, revealing the story. For my part, that often starts with lots of dialogue smoothing and noise reduction. After that, I choose production sounds that work and replace what doesn’t, and then I add sound effects that make the soundtrack bigger. Finally, I finish with the music bed, which brings the emotional effect. If I have enough time to fully develop the project, the director is usually surprised at the final product because of the transformation through the sound mixing process. It’s a whole new experience—even for those most intimate with the project.

Q: What do you do when the sound quality is bad?

Sometimes, potential clients make poor decisions on set or just have bad luck with location sound. Although there’s always something that can be done, big improvements can be very labor intensive and costly. I do my best with all the technology available, but there’s no substitute for good decisions. I sometimes spend a lot of time polishing the proverbial turd.

Q: Why is sound design worth investing in?

For the audience, the soundtrack is half of the experience of any animated or live action video piece. Some clients tend to worry only about the visuals and ignore the audio. I strongly believe that if the audio isn’t enhanced, it will detract from the visuals. On the other hand, good sound design will intensify the visual experience. If you are an audio guy like me, you surely know that most people use their eyes more their ears. I’m always noticing sounds that no one else around me does. But even so, I know that a good soundtrack will add a sense of quality and impact to a video project that everyone will notice.

Q: Do you have any suggestions for studying exceptional sound design?

I think the best advice, especially for a young sound designer, is just to open their ears up to the everyday world around them. In so many situations, that’s what we’re all trying to recreate. Take a moment to listen and study everyday environments. Listen for what makes things sound far and close, busy and still, outside and inside. Knowing what goes on in the real world can also help you push the audio boundaries for unreal worlds with more sophistication. Imagination is key. Keeping a childlike wonder about our world is a powerful tool for developing effective sound design.

About Crew Connection:

Crew Connection connects you with video production crews across the country and around the globe. With more than 25 years of experience and thousands of shoots with film crew pros to our credit, you can trust our expert coordinators to match you with the right freelance video crew and equipment—every time.

To start a freelance video production business, you have to be a fighter. There’s no coasting. There’s no relying on someone else to pick up the slack if you have an off day. It’s just you—pounding the pavement with a load of gear on your back, facing off against competitors, and keeping up to date on ever-changing technology.

It’s not enough to be a pro behind the camera. You also have to be an expert in marketing, finance, and interpersonal communications. Often, you just have to put your dukes up and act as your own advocate. It’s a lot to manage. That’s when it’s nice to have someone in your corner.

Crew Connection is Your Partner in Freelance Video Production

How much time would you free up if you could skip prospecting? What if your pipeline was full of clients who came to you? High-quality clients who understand the business realities of freelance camera crews are hard to come by. Those who pay quickly are even harder. Time is money and clients and crews alike save both when they work with Crew Connection.

When you’re busy with new clients and badass work, the last thing you want to do is hound someone over an aging invoice. At Crew Connection, we streamline communication, cut the red tape, and send net 90 packing. Our crews are paid within 30 days—guaranteed.

In boxing, you may be the one out there in the ring throwing punches, but there’s always someone in your corner. With a profile on Crew Connection—Crew Connection’s online platform for the world’s best freelance camera crews— you’ve got your very own marketing expert, sales rep, and accountant in your corner. And that’s worth a million dollars, baby!

About Crew Connection:

Crew Connection connects you with video production crews across the country and around the globe. With more than 25 years of experience and thousands of shoots with film crew pros to our credit, you can trust our expert coordinators to match you with the right freelance video crew and equipment—every time.

John Kuhrt, an award-winning photojournalist for NBC’s Denver news affiliate, has been filming the Broncos for over 25 years. While Kuhrt has witnessed his fair share of sideline antics, his portfolio ranges far beyond the gridiron.

We interviewed Kuhrt, who shared his top 10 tips for a successful career in videography:

1. Practice

Kuhrt started filming in high school and never stopped. He didn’t wait for the ideal situation or job. He just started doing it.

If you have a passion for videography, go for it. Practice everywhere. Practice always.

2. Anticipate

Kuhrt thrives on the pressure of watching the clock and the distance up or downfield in pursuit of each shot. To be successful filming sports (or anything that doesn’t involve scripts), videographers have the unique challenge of needing to be 100% engaged in capturing the current situation while also being 100% engaged in anticipating what’s next. This is impossible, of course, but you have to do it anyway.

Calculate where you need to be and when, position yourself the best you can, and then go on instinct.

3. Accept mistakes and move on

No matter how much experience you have, sometimes your instincts will be wrong. You will never have a perfect game (or shot), but getting stressed won’t help anything. In fact, it could cause you to miss the next big play, too. Brush yourself off and move on.

4. Never give up

Never give up on a shot. Even if you miss a play (or shot), follow through because you might get the end of the play or find a good reaction. This principle isn’t just about videography—it’s about life. “Never give up. Don’t ever give up.”

5. Be hyper-aware and hyper-prepared

Being aware of who and what is around you—the setting, fellow crew members, your subject—minimizes preventable errors.

Being prepared for everything (changes in weather, dead batteries, lack of storage space, gear failures, etc.) saves time, energy, and expense in the long run. You won’t always need what you bring and it will sometimes seem like a burden. But when you do need it, you’ll be endlessly grateful.

6. Know your subject

Be as familiar with the game (or situation) as possible. Kuhrt knows football well enough to have a second career as a referee. He also knows the other photojournalists (both from his station and others) by name and by style. All this knowledge helps him move around the field with ease.

The same goes for interviews. You don’t want to walk up to John Elway and ask him a question you could’ve found online. Being respectful of their time makes for a smoother interview and a better relationship.

7. Focus on the relationships

Speaking of relationships, they really do matter. I don’t care how well you can compose a shot—if you don’t have anyone willing to work with you or step in front of your camera, you don’t have a career.

Kuhrt considers each relationship important—whether it’s with the people on the sidelines, on the team, or cleaning the stadium. He is an avid Broncos fan, but in pregame, he chats with both teams and wishes the players good luck. This approach has earned Kuhrt a rapport with players who are notoriously tight-lipped. Be patient. It’s taken Kuhrt years to gain a relationship with certain players, but it’s worth it. Some will ignore every other cameraperson on the field, but will stop in front of Kuhrt.

If your subject needs some space, give it to them. Think of the bigger picture rather than what you think you need in that moment. Sometimes being sensitive to the situation and timing will lead to a better interview later.

8. Don’t cheer from the sidelines

Early on, Kuhrt found himself cheering or showing his disappointment much like he would watching the game at home. He has learned to be disciplined about keeping his reactions internal. It’s inappropriate and unprofessional to interrupt what you’re documenting. Your job is to document a game/record history. It’s not about you.

9. Don’t be selfish

You can get the shots you need without being selfish about it. You don’t need to jump in front of people or cross the boundaries that have been laid out. Some people will break the rules and it will benefit them in the short-term. No matter how many others you see breaking the rules, you’ve got to face yourself and be able to feel good about how you handle yourself. If you want a long career and you want to feel good about your choices, you’ll need to approach them with integrity.

Be courteous with everyone. Everyone.

10. Stay humble

This will serve you well from the beginning of your career to the end. It will serve you in life. Whether you’re just starting out or are well established, there’s always more to learn. Kuhrt asked questions in the beginning and has never stopped.

He found that most people want to share their passion and experience. Kuhrt says, “If they don’t, shake it off and go to the next person.”

As you gain experience, be available to give tips to newer people (even if they’re from other teams/stations). It doesn’t hurt your photography.

Even when you find yourself with Emmys and other awards on your bookshelf, don’t get a big head. There’s always someone out there doing it better than you.

Crew Connection connects you with video production crews across the country and around the globe. With more than 25 years of experience and thousands of shoots to our credit with film crew pros, you can trust our expert coordinators to match you with the right freelance video crew and equipment every time.